M4 Journal

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Tsunenori Murata

(867634) Junhan Foong + Studio 11

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) -The vanishing point is determined by the perpendiculars from the picture plane and the eye.

-All orthogonal lines meet at this point.

-All parallels in any direction have a common vanishing point. E.g. The vanishing point of parallels will be always on the horizontal line going through the central vanishing point, if the parallels are on the horizontal plane.

-If, in the same situation as above, parallels and the picture plane makes 45-degree angle, then distances of parallels’ vanishing point to the central vanishing point, and eye to the picture plane is equal.

-As objects recede, the equal dimensions diminish.

Question 2: Describe homogenous space? (Maximum 100 words)

Homogeneous space is infinite and rational space, which is constructed within a mathematical realm.

All the elements in homogeneous space is only constructed by the locative information. For the reason that all the element lack in their content, they are solely a representation of ideal relations. Thus homogeneous space is never a given space, it is a constructed space.

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INVISIBLE CITY: ISAURA

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OLD QUAD ISOMETRIC

Isometric view of Old Quad 3D model

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OLD QUAD ISOMETRIC WITH NOTATIONS

Isometric view of Old Quad with symbols representing Marco Polo’s action

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QUAD PERSPECTIVE 1 AND 2

This view allows half of the vault to be displayed. It gives oveall idea of what the scene is about, depicting the first half of the passage. Since this is from indoor, I used 25mm lens to create the vastness.

This also allows more roof to show up, and creates more depth in the view.

I used perspective 1 to show the overall detail. This view explain the other half of the passage, where Marco Polo explains the religions in this city. Since the 1st view showed most of the vault, I chose this view to focus on smaller details in the scene.

Again, I used 25mm lens to exaggerate the depth but this time it is used to create mysterious/dynamic atmosphere.

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PERSPECTIVE SCENE 1 AND 2 The LandScape To match with the old quad’s design I used pen illustration of people from 12~13th century. All the wells are chosen to match the perspective, thus the styles varies. But it adds a characteristic to the city and also depicts the story well since the city of Isaura is ‘city of the thousand wells’ and it’s not nessacery built in the same style. The glowing hand in the foreground adds a mysterious sense in the scene. It implies that there is some ‘living creature’ underground.

The Religion Perspective (pers) 2 is a continuation of the 1st pers. The mysterious hand in pers 1 is explained here. I specifically designed this view to have an empty space in the center so that the viewers can easily notice the clinging hand. But I didnt wanted viewers to notice it immediately. I intentionally placed a bucket with strong highlight to direct viewers attention away from the hand. The hand represents the ‘gods’ that appears in the description of religion in the passage. It is a representation of Marco Polo’s imagination, thus it only appears in the corner of his eye. It shows how he unconsciously connects the religion with the city as he observes around.

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WEEK 4 READING: MAPPING THE UN-MAPPABLE ON NOTATION (FROM ‘PRACTICE: ARCHITECTURE, TECHNIQUE AND REPRESENTATION’) Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic is a type of arts which the authenticity of the work is dependent on the direct contact of author. Such as paintings and sculptures. On the other hand, allographic can be reproduced through the notation. Examples can be music, or performance art. Since the work is represented through the means of notation, it does not reproduce the original, rather it produces a new form from the understanding of the notation.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architecture is neither allographic or autographic, it is the mixed characteristics of both. Architectural plan is the equivalent of music score, which has to be realized. However, unlike music, architecture is physically present, having a physical representation of the notation thus creating a paradox where it acts as an allographic but once notation is embodied physically, it is no more an allographic.

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FINAL DRAWINGS Thin CiTies 1: isaura The passage can be separated into two parts; first half with description of landscape and the other half with description of the two religions in the city of Isaura. As seen on the left, the movement of Marco Polo is shown with the dotted line. I imagined as if the passage was a narrative that was spoken inside Marco Polo’s head while he obserbed the city. I minimized his movement and walking pace to show how analytical he is while he observes around the city.

Key Walking slow Walking fast Glance Stare Under shadow Perspective 1 0

1m

2.5m

Perspective 2

5m

Hands

Perspective 1

His movement lines up exacly with the passage where at the begining he observes the city in circle then stops near the opening and sees the landscape. As he walks through the city, his imagination and reality overlaps. Thus resulting in seeing hands and hand print of ‘gods’ that can be seen on the perspectives. Perspective 2 focuses on the terrified feeling that Marco Polo must have experienced by seeing his imaginary hands reaching out from the ground. To depict this emotion, I placed arrow representing stare and hands to tell that he is on the ground surprized. I also have made the tone of perspective 2 darker than the perspective 1 to create frightning atmosphere.

Perspective 2

Tsunenori Murata 867634

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APPENDIX

Sketch of first idea

Perspective 1 (before changes to the restriction)

3D model of first idea (before changes to the restriction)

Collaged Perspective 1 (before changes to the restriction)

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Perspective 2 (before changes to the restriction)

Collaged Perspective 2 (before changes to the restriction)

Perspective 1 in progress

Perspective 2 in progress

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SOME OF THE IMAGES OF OBJECTS/TEXTURES USED IN COLLAGE

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